Diane’s Country Music Newsletter — 3 April 2019


Saturday night brought my first opportunity to see Dwight Yoakam in concert. He came to the Washington Pavilion in Sioux Falls for a sold-out show in a wonderful venue. I enjoyed the intermission more than the opening act. The recorded music gave promise of a show that respected classic country. Listening to Patsy Cline, George Jones, Willie Nelson, and two songs in a row by Faron Young made me wonder if Dwight had personally chosen the playlist.

He and his band walked onstage at 9:10, without introduction, and kicked off the first song. Dwight sang nonstop until almost 11, with a few stories along the way. Most of the songs were familiar. He sang his classics, as well as tributes to his two Bakersfield heroes, Merle Haggard and Buck Owens.

Dwight told us Merle advised him, “You never know where a good song will come from.” He related the story Merle had told him about being invited to a fan’s home for breakfast after a show. When the hostess went into the next room and sat down at a piano, Merle thought, “Oh, here’s the price of breakfast.” But the songs played for him were “From Now On All My Friends Are Gonna Be Strangers” and “The Fugitive.” Liz Anderson had just given Merle Haggard a band name and his first number one hit.

Dwight’s band consisted of drums, bass, lead guitar, and a multi-instrumentalist who played fiddle, keyboard, and steel, sometimes all in the same song. Dwight changed guitars every few songs. One stagehand stayed busy bringing him electric and acoustic guitars. There was no interaction with the band, other than a brief introduction at the end. They all appeared to be independent musicians who just happened to make good music together.

While the band members wore Nudie-looking jackets and dark jeans, Dwight had on his trademark denim jacket and tight jeans. Although his hair looked as grey as his hat, he seemed much younger than 62. Watching him twist and swivel those sexy legs made him appear ageless.

It was an enjoyable evening of energetic and familiar music.


An early birthday party for Loretta Lynn took place at Nashville’s Bridgestone Arena on April 1. The three-hour show contained 28 song performances. As Keith Urban had promised when he was invited to be on the show, he popped out of an oversized cake to sing “Happy Birthday.” The song he chose to perform was “Blue Kentucky Girl.” He told her he sang her songs years ago when he played in cover bands in Australia. Darius Rucker sang Loretta’s most controversial song, “The Pill,” which advocated birth control. Several duets celebrated the hits of Loretta Lynn and Conway Twitty. Garth Brooks and Trisha Yearwood sang “After The Fire Is Gone,” George Strait and Martina McBride sang “Lead Me On,” and Alan Jackson joined Lee Ann Womack for “Louisiana Woman, Mississippi Man.” Loretta spent the evening sitting on the side of the stage with family and friends, until all the guests came on stage to sing “Coal Miner’s Daughter” as the show’s final song. The Tennessean reports that Loretta stood between Crystal Gayle and Tanya Tucker, singing tentatively at first and then belting out “Yeah, I’m proud to be a coal miner’s daughter.” Loretta will be 87 on April 14.

Shreveport Times reports that Margaret “Maggie” Ann Lewis Warwick of Shreveport, Louisiana, died March 29, following a brief illness. As a teenager singing in West Texas, she had been discovered by Johnny Horton. Some of the songs she cowrote over the years were “Mountain of Love”(David Houston), “Reconsider Me” (Narvel Felts), and “The Girl Most Likely” (Jeannie C. Riley). Maggie and husband Alton Warwick formed a non-profit in 1997 to prevent Shreveport’s Municipal Auditorium, home of the Louisiana Hayride, from being torn down. The Warwicks own the rights to the Louisiana Hayride live country music concert and stage show.

In the six years that filmmaker Ken Burns worked on his 16-hour Country Music documentary, which premieres in September on PBS, he conducted 101 interviews. Twenty of those subjects have since died. The Tennessean reports he will donate all the interview footage and transcripts from the project to the Country Music Hall of Fame and Museum. The donated footage totals more than 175 hours and includes interviews with 41 members of the Hall of Fame.

Nashville was the last stop on a promotional bus tour Ken Burns and his Country Music filmmaking partners took across Tennessee last week. Rolling Stone Country reports the tour started in Bristol, where Jimmie Rodgers and the Carter Family were first recorded, then went to Knoxville, near Dolly Parton’s hometown, and then crisscrossed the state to reach Memphis on Tuesday. After seeing where Elvis Presley and Johnny Cash got started at Sun Records and Sam Phillips Recording, the Tennessee tour ended at the Country Music Hall of Fame in Nashville. On Friday, the group visited Montgomery, Alabama, for an event that offered film excerpts focused on Hank Williams and his contributions.

Ken Burns’s all-star Country Music: Live at the Ryman concert took place Wednesday night in Nashville; it was filmed for a future PBS broadcast. The show’s dozen-plus performers included Vince Gill, Dwight Yoakam, Dierks Bentley, Rosanne Cash, Kathy Mattea and Ricky Skaggs. During the show, brief clips of the documentary were interspersed with live performances of songs discussed in the documentary. Vince Gill, according to The Tennessean, “frequently sat in the background with his Telecaster, guiding a band of session pros through tunes that touched on many different styles and eras of country sounds.” One of the highlights of the evening was Vince singing Dolly Parton’s “I Will Always Love You.” To quote The Tennessean, “Gill’s rendering, suffused with the heartache and vulnerability he does so well, was sublime — a breathtaking version of a song that earned the singer a standing ovation and set itself apart from its two most well-known versions.” Those versions, of course, were by Dolly herself and Whitney Houston. This seems like a good time to clear up the misconception that Dolly wrote the song for/about Porter Wagoner. According to Porter, she wrote it to prove to him she could write a love song, after he told her, “You’ve got to write love songs if you’re going to be successful.” She said, “I’ll write you a love song.”

The Library of Congress has added 25 recordings to The National Recording Registry. They include “Long Black Veil” by Lefty Frizzell. Here’s the whole list for 2018: https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/registry-by-induction-years/2018

Kim Campbell is sharing stories about being a caregiver for her husband, Glen Campbell, until his death in 2017. She will be appearing April 11 in Knoxville. She met Glen on a blind date when she was a Radio City Music Hall Rockette. Their 22-year age difference made her realize she might someday be taking care of him. She said caregivers ask how she dealt with the guilt of placing him in a facility. “I did not ‘place’ my husband somewhere,” she responds. “Our family joined a memory-care community. It was my community, too. With other families going through the same thing, we could support each other. It was so comforting to be part of a community like that.” Glen went public with his Alzheimer’s diagnosis in 2011. “He was very much on a mission to show the world what living with Alzheimer’s looked like,” she says. Now, according to The Tennessean, she hopes to shed light on the option of long-term care.

The Mavericks recently gave their first concert in Bristol, Tennessee. “I am from a Cuban family,” Raul Malo, 53, tells Bristol Herald Courier. “My dad loved Johnny Cash. I remember riding around in Miami with my dad in his big Buick, listening to Freddy Fender and Marty Robbins on 8-tracks. Country music was part of the soundtrack to my childhood.” Raul visited North Carolina relatives as a child. “I remember going to a little store in Mountain City where they had a picking parlor,” he said. “Here I was, a little Cuban kid. They couldn’t even pronounce my name. Then I sang Hank Williams songs for them, and they loved it. After that, they tried and learned to pronounce my name. They were such sweet people.”

The Keith Whitley 30th Anniversary Memorial Concert will be held Thursday, May 9, at the CMA Theater at the Country Music Hall of Fame and Museum, The Tennessean reports. Keith died from alcohol poisoning, at age 33, on May 9, 1989. His widow, Lorrie Morgan, and their son, Jesse Whitley, will host the show. Performers include Garth Brooks, Trisha Yearwood, Tracy Lawrence, Joe Diffie, Darryl Worley, Mark Chestnut, Larry Cordle, Carl Jackson, and others. A Keith Whitley exhibit opens May 3 at the Country Music Hall of Fame and Museum.

In a recent interview with Rolling Stone, Gordon Lightfoot was asked what he thought of the Marty Robbins cover of “Ribbon of Darkness” in 1965. “What a wonderful arrangement they brought to that song,” he said. “Marty came to see my show at one point. I was very honored by that because I loved his song El Paso. Marty was of heroic stature to me. That he recorded one of mine, I was very proud.” The Ontario native, at age 80, has never stopped performing. He played 80 dates last year and is currently on a tour called 80 Years Strong. When he was hospitalized for a week last year with pneumonia, he recalls, “They had me on antibiotics, and the antibiotics gave my memory a jog. I remembered a group of songs I had written back in 2001, just before I had the aortic aneurysm, which almost killed me. It put me out of business for two-and-a-half years. I started thinking about this material and just a few weeks ago I found it all and got it together. There’s enough material there, more than enough, for another album, so I’m probably gonna make one more album.”

Wanda Jackson, 81, has retired from performing and is not happy about it. “It upset me,” she tells Rolling Stone, “but it had to be done.” She suffered a stroke last year and has been struggling with a series of physical ailments. The Oklahoma City native started her career singing with Hank Thompson’s Brazos Valley Boys in the early 1950s. In 1955, Elvis Presley encouraged her to move toward rock & roll. “I just don’t know what I’m going to do now,” she says. Her stroke didn’t leave any physical damage, she explains, although “I have a little bit of difficulty thinking of the right word sometimes, looking for it, to describe something. I’ll know the word, but just can’t get it.” For the past three years, she says, “I’ve been in and out of hospitals. I went in with pneumonia, they sent me home after a week, and I did rehab. Within a week I was back with double pneumonia. So I’ve just been out of commission. I had a knee replacement and then wound up catching that superbug, MRSA. That one really knocked me for a loop.” She comments, “Jerry Lee Lewis and I are about the only two of the original rock & rollers. The rest of them have passed on.” What will she do now with her time? “If I ever find a hobby or something,” she tells the interviewer, “I’ll let you know.”

“We Need A Lot More Guitars and A Lot Less Guns” is the title of a music video released recently by Sherwin Linton. The production was filmed at Willie’s American Guitars, a vintage guitar store in St. Paul, Minnesota. More than 20 Twin Cities guitarists from all genres joined Sherwin for the filming. Sherwin wrote the song in 1994, paralleling the famous quote from William Congreve’s 1697 play, The Mourning Bride: “Music has charms to soothe a savage beast, to soften rocks or bend a knotted oak.” The anti-violence but not anti-gun message encourages picking up a musical instrument instead of committing a violent act.

The Wilburn Brothers Facebook page posted this adorable photo, courtesy of Jason Wilburn with Sure-Fire Music Company Archives, and I couldn’t resist showing it to you. It’s the singing Wilburn Family in 1940: Teddy, Doyle, Geraldine, Leslie and Lester. Teddy graduated from Fair Park High School in Shreveport, Louisiana, in the 1951 class with Faron Young.

Mike Fisher, husband of Carrie Underwood, is now an American citizen. The retired hockey player, 38, posted on Instagram on March 21, “Big day I’m officially American.” CMT.com reports, “Fisher played for the Nashville Predators from 2011 through his first retirement in 2017. He came back out of retirement in 2018 to help the Predators make another Stanley Cup run.” He retired again in May after the team was eliminated in the playoffs.

A three-day event, The NFL Draft in Nashville, will be held later this month in downtown Nashville, according to Nash Country Daily. More than 20 Nashville-based acts will perform. Tim McGraw headlines a free outdoor concert at the Draft Main Stage on April 26, with Dierks Bentley headlining on April 27. Other performers include Striking Matches and Charles Esten.

The Legacy Collection, which will be shipped in November, is a vinyl boxed set of five Garth Brooks albums–No Fences, The Chase, In Pieces, Fresh Horses, and Triple Live. It is available in three different packages, each with seven vinyl records; the choices are Analog, Remix-Remaster, or Limited. According to Nash Country Daily, fans were able to purchase all three packages–21 vinyl records–for $100 during the 24 hours of March 14. More than 14,200 units (300,000 vinyl records) brought in $1.4 million. Combining those totals with an earlier 18-hour sale period, The Legacy Collection has moved more than 34,200 units (720,000 vinyl records) for sales of more than $3.4 million. In 42 hours.

Saving Country Music reports that Jerry Lee Lewis, 83, has canceled more appearances, as he continues recovering from his stroke. His performances at the New Orleans Jazz and Heritage Festival on April 28 and The Birchmere in Alexandria, Virginia, on June 8 have been canceled. He is hoping to do his July 1 show at the Schermerhorn Symphony Center in Nashville.

The Country Music Hall of Fame and Museum celebrated its 52nd anniversary on April 1. As explained by The Boot, “The Country Music Association (CMA) originally established the Country Music Hall of Fame in 1961 and spent six years planning and building the museum before it officially opened on Music Row. The Hall of Fame quickly became a destination for not only tourists but also Music City locals, who came to view artifacts from their favorite country music artists, past and present, including photographs, instruments, documents, clothing and even vehicles.” Even with several expansions, the museum outgrew its available space. The Hall of Fame closed its original location in 2000 and reopened the following year at its new location in downtown Nashville. It now has 130,000 square feet of space and is one of Nashville’s top tourist destinations.


Gary Robble writes, “Beautifully done. You made it come out much better than I felt. It was the first interview after finishing the work. The book is doing wonderfully well, even though the official release date is not until May 1, the anniversary of Sonny’s 91st birthday. The book also includes what I would consider some unique features:

  • Two detailed years of travel itinerary
  • Twelve one-page snippets written by fans about their Sonny James moment
  • Complete thirty-day diary notes when Sonny’s wife Doris traveled with us
  • Transcript of tape sent on the Apollo 14 moon trip
  • List of sixteen consecutive #1 hits with day recorded and date reached #1
  • Complete discography: dates recorded and song titles 

It was a pleasure being interviewed by you. I appreciate your giving me the opportunity to talk about a very good man indeed, who, like so many in the music business, had a career that was filled with happiness and hope, interspersed with periods of heartache and heartbreak.”

Tom Barton says, “Thanks so much for the news about the Sonny James biography. I always enjoyed him and got to see him perform once or twice. He was a great showman, but, obviously, like Marty Robbins, was very private about his personal life. I have placed a pre-order for it.”

Dominique “Imperial” Anglares writes from France, “Thanks for your welcome newsletter, always a pleasure to read your words and the letters. Good to know about the Sonny James forthcoming book. It’s gonna be a welcome addition to my library.”

Kathy Baucom Baker‎ in Kansas comments, “So we went from artist of the decade, Marty Robbins to Jason Aldean? Now I know for sure the world has gone crazy.”

Ron Reagan says, “I try my best not to complain, but Jason Aldean as Artist of the Decade is a slap in the face to Marty Robbins and others who have received it. I get it that some people like him, but he’s far afield from anything remotely country except he might holler out ‘truck’ a few times. George Strait, Alan Jackson, or Brad Paisley would have made much better choices. I have a new YouTube page-Hankfan Hankfan. It’s full of rare Hank Williams, Leroy Van Dyke, Ferlin Husky, and other stuff not available on CD or any other digital format. I’m constantly adding stuff–I’m trying to maintain a focus on music not available on any modern format that folks probably haven’t heard in a long time.”

Jeannie Seely says, “Thank you for including me in your newsletter….as usual it’s a great letter. I treasure that picture with Jan and Rose Lee…they are two of my role models for sure!”

Mike Johnson of Roughshod Records says, “Enjoyed reading another information packed issue. Always informative, objective, and well written. What particularly caught my attention was the ‘In Their Own Words’ article that mentioned Steel Guitarist, Bill Johnson. I first met Bill back in the late 1980s during my Nashville recording days. He was one of the session musicians that Jim Stanton (Rich-R-Tone Records) had recruited for one of my recording sessions at his Champ Recording Studio. Ever the gentleman, I remember him humbly asking me if he could play a lap-top steel he had just created instead of his pedal steel, which he had also brought with him. He gave me a short demonstration and I gave him a thumbs up. I ran into Bill off and on in Nashville over the years while he was playing in some of the local haunts, which he juggled between backing artists and studio works. Sadly, the last time I saw him was at Terry Smith’s yard sale on 31 October 2004, and it was Terry who notified me of Bill’s passing in 2009. Bill Johnson was a wonderful, down to earth guy with a big heart and a great Steel Guitarist! Really miss his distinct sound.”

Jackie Thomas in Arizona writes, “Great newsletter as always. There was a brief mention of Lyle Lovett, he’s one of my favorites, and I know absolutely nothing about him. If possible, could you tell us a little bit about Lyle Lovett in one of your newsletters? Would surely appreciate it. Thanks much for all the delightful reading about good country music. By the way, Joni Harms is in concert here in Sun City Arizona this Friday along with our local guy, Dan McCorison, who won album of the year at the Western Artists last year in Fort Worth and has a great band here called Steel Nickel.”

David Frederick says, “Thank you for your good read on your Newsletter. I send them to my friend Kim Carson from New Orleans, she enjoys the read.”

My sister, Kayo Paver, requests from Clear Lake, “Please add my White Post Office associate, Cody, to your newsletter.”

Johnny Western writes from Arizona, “Last nite [3/23], Garth Brooks broke every concert record in the history of Arizona. He played to 75,000 people at the State Farm Arena, where the Cardinals play their NFL games. The show broke every record since 1914, when Arizona became a state.”

Jenny Jones in Texas says, “Enjoyed your latest Newsletter. All great news as usual. You covered so much News that meant so much to me. All the names mentioned of the ladies of Country brought back many memories of BILLY and BETTE WALKER, special ones they were always telling me about. Those you mentioned that received many Honorary awards, brought back special memories to me. Got to meet many of them in the past, and that brings more memories for me to include in My Book of Memories. Looking forward to the new books being written, and I learnt something about Sonny James that I did not know. I am still trying to locate Jimmy and Dorothy Blakley. Last I heard they were in Roswell, New Mexico. Keep up the good work.”

Marc Gullen, Faron’s last drummer and an avid reader of my newsletter, writes, “I have a special needs friend who is a rabid country music fan and I know he would love to receive your newsletter.  I don’t know how to so I had hoped you could do that for me. I would sammich appreciate it if you would do thus sign him up for me. On a personal note, I have to admit that I’ve yet to read your book on Faron. To be honest I’m only now beginning to get over his death. We were close, so close he had offered to buy a farm with me so we could raise my two boys there. To this day I can’t help but believe that maybe he’s still be alive had I pursued that offer. He had been forgotten by his family and was lonely. Probably rightfully so knowing his history with alcohol. The first three years I was with him he was sober and was really on top of his game. He would sit and do autographs until the line came to an end after every show. Then we did an album live at Gilleys. The last two songs we recorded were Christmas songs and my last cymbal was still ringing and he was next door throwing back triple shots. The holidays were rough in him and I understand why. His death in mid-December isn’t difficult to understand. I wish you the best and look forward to hearing from you as I also know my friend would be beside himself to be signed up for your newsletter.”

Bonnie Blose has a request: “I have a friend who is putting together a group of songs as a theme of requests for a country show we listen to. She calls her theme the next generation, but it includes children and grandchildren of artists in country music. What she is looking for is information about any who have had a recording career and their relationship to the famous relative. We know Loretta Lynn’s daughters did an album but don’t know its name. I am interested in this subject on a statistical level and wonder what the percentage of children or grandchildren is who have gone in to the music industry. We know about Georgette Jones and the more famous people like her, but we are looking for others less well known although they may be children or grandchildren of big music stars. We are not looking for brothers and sisters like Reba’s brother and sister. We know about Pam Tillis but would like to know if she has children who record. We know about Glen Campbell’s daughter. Do you have any other ideas or suggestions of artists related to famous singers? I am looking forward to the newsletter and the responses I do believe you will receive on this subject.”

Virginia DeBlaey writes, “I’ve been enjoying your newsletter for quite a while because a friend shares it with me. Thanks for your input and interest in my idea which would feature music from the next generation of country artists whose parents or grandparents have a career in country music. My friend who does a three-hour country show on therideradio.net is willing to devote an entire show to this topic if we can find enough artists who have recorded music in the country format.  I’m looking forward to any responses you receive.”

Diane: Readers? Which children and grandchildren come to mind?


Jack Evins played steel guitar for Marty Robbins in 1953-4, when Marty first moved to Nashville. I did a phone interview with Jack in 2007, after meeting him at a Country Music Hall of Fame event to honor Ray Price. He died in 2012 at age 83.

When I first went to WSM, I went with Ray Price. I was working with Ray from time to time, and I would fill in with Marty. I think the most of us would, Don Slayman and Ray Edenton and myself and Lightnin’ Chance, when we weren’t working with somebody else. Cuz I don’t think he was doing a whole lot of shows back at the first.

I remember one time we played a drive-in theater. We were up on a platform right below the screen, and the guitars all got out of tune in that night air. Marty wasn’t much of an emcee when he first started. I had a steel guitar I had to carry on my shoulder and climb a ladder to get up on the platform. People didn’t applaud at a drive-in theater–I don’t remember ever playing another one–they blew their horns. You couldn’t see them, sitting in their cars. We had a bass player called Lightnin’ Chance, and Lightnin’ was a comedian, too. Marty had told him, “If I get stuck now, you come to my rescue.” He said, “Don’t worry about that, Little Chief, I’ll take care of you.” So Marty sang two or three songs, and these people would blow their horns and blow their horns, and then he started talking and he said, “It’s a pleasure to be with all you people”–I think we were in Sparta, Tennessee, and he said, “It’s a pleasure to be with all you people up here,” and he kinda stammered, he couldn’t remember the name of the town. He stammered around for a little bit, and finally he turned around to Lightnin’, and he said, “Lightnin’, dang it, say something!” He said it right in the microphone. And it was pretty funny.

Marty was a pleasure to be around and a pleasure to work for. He had a lot of talent. He doubted himself sometimes. He loved to play a steel guitar. We played a little place one night, an old schoolhouse somewhere. He wasn’t that well known at the time, and there wasn’t a lot of people there. He got up and sang a few songs and talked a little bit; he wasn’t being funny, he wasn’t going over too good with these country folks, and finally he walked over to me, and he said, “You get up here and sing, and let me play the guitar awhile.” He played some steel; he was trying to learn how to do it. And he told me, “Get up there and sing; let me play the steel.” I said, “Get out of the way, Marty. I’m not gonna get up there and sing.” I don’t remember all the places we played, but I enjoyed very much working for him.

He liked the old Roy Wiggins-type steel guitar that Roy played behind Eddy Arnold. He wanted me to play that kind of stuff. The tuning I had wasn’t really set up for that. I could do it, but it wasn’t the best tuning for that type of steel. But I did it evidently to his satisfaction, and we got by with it.

It was around ’59 when I made my last recordings with Price and left. I was a United States marshal for 22 years. I was in law enforcement a little over 30 years. I missed the business. I stayed with Ray until the latter part of ’58, ’59. I was gone from my family all the time. I told the guys one time when we were coming in off a long road trip, “I’m gonna quit.” Roger Miller was with us; he was fronting at the time. He said, “You won’t quit.” I had quit once before, and Ray had called me and I’d gone back. Cuz I loved the music so much. He said why are you going to quit? I said one of these days we’ll be sixty years old. I’m not a Chet Atkins, and one of these days our fingers will start getting old, and there’ll be a town full of good young musicians out here, and we’ll be out beating this road to death. I said, “I’m gonna find me a career someplace.” I put my guitar under the bed and didn’t take it out from under the bed for four years. I wouldn’t listen to country music at all, because I knew if I did I’d be right back in it again. It was tough to quit, but I finally did. I didn’t play any for thirty years, I guess. But I watched Marty all the time as he rose up to be a tremendous star. I was honored I had known him and played with him for that time.

Lightnin’ was a spokesman, a lot of the time. He was kind of a funny guy, and he had a lot of experience as a frontman and stuff like that. He would do most of the talking, to start with. Like I said, Marty wouldn’t–at the first he was very shy–he wasn’t much of a spokesman. He depended on others to fill in for him, cuz he’d get stuck. He’d get up there and start talking and he’d run out of things to say. Especially at that drive-in theater when he couldn’t see them people. I remember how weird that feeling was. You couldn’t see anybody; it was just–it was awful. He wasn’t really well known. As I recall he didn’t have big hit records out at that time.

E-V-I-N-S. I’ll tell you a strange story about that. I had an uncle that was a Congressman for thirty years. He was doing this genealogy thing on our family. A very proud man. I went into his home office one day, and he had some information sent from Ireland. “According to this, there was a fellow in Ireland who was one of our ancestors, and his name was NEVINS. He was a pirate and he was running from the authorities. He came over here to the United States and knocked that N off the name, and that’s how we came up with the Evins.” He tore it up right quick. He said, “That can’t be true. That’s not right.” I said, “It sounds right to me. We still got a bunch of pirates in this family.” It makes a lot of sense. That may be exactly where we got this name, cuz it’s very unusual.

Well, honey, I’m sorry I can’t remember more, cuz I would certainly like to help you if I could. I just don’t remember a lot of those things that happened so many years ago. You’re welcome to call me any time. If I can help, I sure will.

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